Inspirational quotes with sympathetic.
Flipping to the front, I caught Aiden's gaze and offered a sympathetic smile."Skittles?""Please."I dumped some into his open palm, then picked out the green ones. Aiden grinned at me."You know I don't like the green ones?"Shrugging, I popped them in my mouth. "The few times I've seen you eat them, you leave the green ones behind."Deacon popped his head between our seats."That's true love right there.""That it is."Aiden's gaze flicked to the road. I flushed like a little schoolgirl and focused on the remaining pieces of candy until Deacon drifted back into his seat. I handed all the red ones to Aiden.
I alternate between feeling sympathetic toward humanity and being a misanthrope. When I'm sympathetic, it usually means I haven't been around people in awhile.
The golden rule of business is supply and demand. I venture to say that this is also the rule of happiness. When a balance is achieved between our desires and another's willingness to satisfy them, the result is a sympathetic, mutually rewarding relationship. (...) a thriving economy of love.' - character Mike Lambeth
The practice of sympathetic joy is rooted in inner development. It’s not a matter of learning techniques to “make friends and influence people.” Instead, we build the foundations of our own happiness. When our own cup is full, we more easily share it with others.
Buddhism has a term for the happiness we feel at someone else’s success or good fortune. Sympathetic joy, as it is known, invites us to celebrate for others.
The more we identify and acknowledge moments when we’re unable to share in someone else’s pleasure and ask ourselves whether another person’s happiness truly jeopardizes our own, the more we pave the way for experiencing sympathetic joy
The more we practice sympathetic joy, the more we come to realize that the happiness we share with others is inseparable from our own happiness.
All my life I have heard the term happiness thrown around like a buzzword as if it is something to be gained. As I have previously expressed, I do not view happiness as a tangible thing. To me happinesss is the elimination of accumulated darkness. Self-sustaining happiness comes from contentment of acceptance, compassion and sympathetic joy, qualities which cannot be developed like a muscle, but rather they must be actualized by the removal of fetters in the mind
That can happen when people die, the argument with them drops away and people so flawed while they were drawing breath that at times they were all but unbearable now assert themselves in the most appealing way, and what was least to your liking the day before yesterday becomes in the limousine behind the hearse a cause not only for sympathetic amusement but for admiration
This kindly unjudging judgment of the Swede could well have been a new development in Jerry, compassion a few hours old. That can happen when people die--the argument with them drops away and people so flawed while they were drawing breath that at times they were all but unbearable now assert themselves in the most appealing way, and what was least to your liking the day before yesterday becomes in the limousine behind the hearse a cause not only for sympathetic amusement but for admiration. In which estimate lies the greater reality--the uncharitable one permitted us before the funeral, forged, without any claptrap, in the skirmish of daily life, or the one that suffuses us with sadness at the family gathering afterward--this even an outsider can't judge. The sight of a coffin can effect a great change of heart--all at once you find you are not so disappointed in the person who is dead--but what the sight of a coffin does for a mind in its search for the truth, this I don't profess to know.
The prosecutors squarely confronted the grisly results of abortion. And they discovered that nobody really wanted to talk about it. In fact, they learned first hand how blinkered the medical profession could be when it came to abortion. Among the unpleasant surprises they encountered early on in the investigation was the nearly universal unwillingness of doctors to help them. Hardly anyone wanted to talk. A few were sympathetic but balked at testifying. Many more weren’t so kind. Medical professionals didn’t want to contribute to any official proceeding that might shine a negative light on abortion. The prosecutors were encountering the same reluctance to speak up and do the morally and ethically right thing that had allowed Gosnell to continue killing for years.
I sense the world might be more dreamlike, metaphorical, and poetic than we currently believe--but just as irrational as sympathetic magic when looked at in a typically scientific way. I wouldn't be surprised if poetry--poetry in the broadest sense, in the sense of a world filled with metaphor, rhyme, and recurring patterns, shapes, and designs--is how the world works. The world isn't logical, it's a song.
By giving words the latitude she does, (Marianne) Van Hirtum emphasizes their contagious qualities: they become almost like viruses, with which it is necessary to put oneself in harmony by sympathetic magic if one is not to be overwhelmed. ... What is essential is to become one with the sickness, that is, in the context of language as a whole, to enter into contact with words.
When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism.The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them.In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void.Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.
The writer can grow as a person or he can shrink. ... His curiosity, his reaction to life must not diminish. The fatal thing is to shrink, to be interested in less, sympathetic to less, desiccating to the point where life itself loses its flavor, and one’s passion for human understanding changes to weariness and distaste.
In the same way there is much, much in all of us, but we do not know it. No one ever calls it out in us, unless we are lucky enough to know intelligent, imaginative, sympathetic people who love us and have the magnanimity to encourage us, to believe in us, by listening, by praise, by appreciation, by laughing. If you are going to write, you must become aware of this richness in you and come to believe in it and know it is there so that you can write opulently with with self-trust. Once you become aware of it, have faith in it, you will be all right. But it is like this: if you have a million dollars in the bank and don't know, it doesn't so you any good.
I have a funny side. I have a soft and sympathetic side. I have a serious side, and a seriously romantic side. I have lots of sides; it's the main course I haven't quite figured out.
It's a bit like sympathetic magic in a way: the usual Western presumption that 'primitive' rituals mimic what they desire to achieve--that phallic objects might be believed to increase male potency and playacting rainfall might somehow bring it about. I am suspicious of such obvious connections and I suspect that the connections among things, people, and processes can be equally irrational. I sense the world might be more dreamlike, metaphorical, and poetic than we currently believe--but just as irrational as sympathetic magic when looked at in a typically scientific way. I wouldn't be surprised if poetry--poetry in the broadest sense, in the sense of a world filled with metaphor, rhyme, and recurring patterns, shapes, and designs--is how the world works. The world isn't logical, it's a song.
The necessary and needful reaction from the collective unconscious expresses itself in archetypally formed ideas. The meeting with oneself is, at first, the meeting with one's own shadow. The shadow is a tight passage, a narrow door, whose painful constriction no one is spared who goes down to the deep well. But one must learn to know oneself in order to know who one is. For what comes after the door is, surprisingly enough, a boundless expanse full of unprecedented uncertainty, with apparently no one inside and no one outside, no above and no below, no here and no there, no mine and no thine, no good and no bad. It is a world of water, where all life floats in suspension; where the realm of the sympathetic system, the soul of everything living, begins; where I am indivisibly this and that; where I experience the other in myself and the other-than-myself experiences me.No, the collective unconscious is anything but an encapsulated personal system; it is sheer objectivity, as wide as the world and open to all the world. There I am the object of every subject, in complete reversal of my ordinary consciousness, where I am always the subject that has an object. There I am utterly one with the world, so much a part of it that I forget all too easily who I really am. "Lost in oneself" is a good way of describing this state. But this self is the world, if only a consciousness could see it. That is why we must know who we are."―from_Archetypes of the Collective Unconscious_
The unconscious no sooner touches us than we are it―we become unconscious of ourselves. That is the age-old danger, instinctively known and feared by primitive man, who himself stands so very close to this pleroma. His consciousness is still uncertain, wobbling on its feet. It is still childish, having just emerged from the primal waters. A wave of the unconscious may easily roll over it, and then he forgets who he was and does things that are strange to him. Hence primitives are afraid of uncontrolled emotions, because consciousness breaks down under them and gives way to possession. All man's strivings have therefore been directed towards the consolidation of consciousness. This was the purpose of rite and dogma; they were dams and walls to keep back the dangers of the unconscious, the "perils of the soul." Primitive rites consist accordingly in the exorcising of spirits, the lifting of spells, the averting of the evil omen, propitiation, purification, and the production by sympathetic magic of helpful occurrences."―from_Archetypes of the Collective Unconscious_
These are times when sympathetic joy comes naturally, but in a complex relationship the heart may not leap up so easily.
Sympathetic joy is a practice. It takes time and effort to free ourselves of the scarcity story that most of us have learned along the way, the idea that happiness is a competition, and that someone else is grabbing all the joy.
By experimenting with sympathetic joy, we break from the constricted world of individual struggle and see that joy exists in more places than we have yet imagined.
That men of this kind despise women, though a not uncommon belief, is one which hardly appears to be justified. Indeed, though naturally not inclined to 'fall in love' in this direction, such men are by their nature drawn rather near to women, and it would seem that they often feel a singular appreciation and understanding of the emotional needs and destinies of the other sex, leading in many cases to a genuine though what is called 'Platonic' friendship. There is little doubt that they are often instinctively sought after by women, who, without suspecting the real cause, are conscious of a sympathetic chord in the homogenic which they miss in the normal man.
In that sense, this is not a standard book of interviews. Nor is it what you might call a book of 'celebrity conversations.' What I was searching for - with increasing clarity as the sessions progressed - was something akin to the heart's natural resonance. What I did my best to hear, of course, was that resonance coming from Ozawa's heart. After all, in our conversations I was the interviewer and he was the interviewee. But what I often heard at the same time was the resonance of my own heart. At times that resonance was something I recognized as having long been a part of me, and at other times it came as a complete surprise. In other words, through a kind of sympathetic vibration that occurred during all of these conversations, I may have been simultaneously discovering Seiji Ozawa and, bit by bit, Haruki Murakami.
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